Suche:m si

A masterpiece that closes the 80s. A masterpiece of his best-known songs, including the hit single ‘Get Back in Love’, ‘Odori yo, Fish’ and ‘Sobo’.
Includes detailed liner notes by Tatsuro Yamashita himself!

A spirited masterpiece that lives up to its title ‘Artisan’.
Tenth original album. Includes ‘Endless Game’, ‘Sayonara Natsu no Hi’, ‘Atom no Ko’, ‘Turner no Kikansha’ and more.
Includes detailed liner notes by Tatsuro Yamashita himself!

SiriusB002 is here—deep, raw, and full of soul. This time we welcome Albert Azar, a Lebanese producer based in Spain, known for crafting emotionally charged soundscapes that blur the line between rhythm and melody.

From bass guitar beginnings to cinematic electronic journeys, Azar brings a timeless touch to minimal music. Influenced by Pink Floyd and classic ’70s rock, his sound tells stories that stay with you.

Backed by Jay Tripwire and Herman Saiz, curators of SiriusB, this release keeps the bar high—stripped-back, expressive, and cut for the vinyl selectors.

The prolific, party-starting Det Gode Selskab collective continues to strengthen its wax artillery with another spaced-out exploration from label affiliate A:G. Based in Oslo, the label and artist have built a strong affinity over the years, with DGS regularly releasing his music and inviting him to perform at a host of events. His “Time Factor” EP is essential electro listening, wandering between rippling shades of acid and tripped-out minimalistic movements, synonymous with the Norwegian beatmaker’s sound. It’s a hazy quest through four original cuts, packed with raw and gritty attitude.

The slinky first outing of the EP goes by the name “Crash.” Anticipation builds as the winding bassline and quirky drum patterns create a sense of retro gaming exploration. “Sleepwalking” is another diverse entry from the talented producer—a pensive yet driven motion propels the track’s energy, laced with slick hi-hats and acid-laden beats.

On the B-side, outer-galaxy transmissions go full steam ahead with the title track “Time Factor”, animated grooves and continuous evolution, climaxing with bright, uplifting synths. Plucky, tight drums lead the way in the final frontier, “Cognitive Resonance”—another classy dance floor outing from A:G, once again showcasing why he’s a producer to keep close tabs on.

Striking while it’s hot, A:G delivers another heater on a label that shows no signs of slowing down in the years to come, and if their previous releases are anything to go by, this one will be moving fast!

AXNER aka Chris Davies from Acid Jazz Records and singer Julia Axner drop a 12" that perfectly closes their disco trilogy. Original cut 'Gyaml' is the sort of cool, musical disco groove that's laden with Chicp-style basslines and airy, soulful vocals perfect for outdoor summer fun. First up then is Al Kent's remix of 'GYAML', which elevates the track with lush orchestral strings and a soulful, emotive disco vibe. Complementing this are two fresh house remixes from London's rising talents HVN SENT and H.O.P. HVN SENT delivers an uplifting, piano-driven remix, while H.O.P offers a smooth, deep house interpretation filled with vocal chops and subtle textures. This package has something for all discerning disco dancers.

Comes with DL card & 2P insert / wrapped in shrink + a sticker

At long last, Takao is back with his long-awaited second album, seven years in the making. His 2018 "Stealth" was (and still is) a much-loved set, mixing elements of ambient and environmental music; with this new release Takao breaks free of the gravitational pull of these earlier influences and strides confidently forward. "The End of the Brim" jettisons some of the more abstract elements of his previous work, embracing a “universal listenability” and a more concrete intensity, with a focus on supple rhythms and strengthened senses of melodic development and harmonic sophistication. This musical growth can be linked with Takao’s admiration of composers Ken Muramatsu and Toshifumi Hinata, who are generally associated with commercial “production music” and easy listening. Another contributing factor is his private study with veteran keyboardist Ichiko Hashimoto of Colored Music. The ten tracks here include three vocal tracks, with three different singers (Yumea Horiike, Cristel Bere, Atsuo Fujimoto of Colored Music) and seven keyboard-led pieces. The vocal pieces are integral parts of the album’s flow, rather than typical “songs” driven by the name and personality of the singer. All of these factors, plus the veteran presence of engineer Hiroshi Haraguchi, known for his work with Haruomi Hosono, who mixed half of the album's tracks, along with the use of excellent old-school synths, aligned with Takao’s forward-looking vision, have combined to give us an album with a unique sense of timelessness. A spotlight illuminating future paths for pop music, available on CD/Vinyl LP/Digital, with English/Japanese lyrics, and liner notes by Yuji Shibasaki.

"All Good" is the second single off De La Soul's fifth studio album, Art Official Intelligence: Mosaic Thump. Released in August 2000, it features a collaboration with soul legend Chaka Khan, who brings her silky vocal acrobatics and provides an extended hook leading into each verse. The song was an international hit, charting in multiple European countries and Australia and reached number 6 on the Billboard US Hot Rap Songs chart. The b-side to this 7" is "Oooh," the first single off Mosaic Thump, and features Redman.

Mieko Shimizu returns with a powerfully cinematic EP, Breathe Out 'Breathe Out' is an intricately crafted double offering that explores stillness and intensity in equal measure and further cements Mieko Shimizu's place at the forefront of experimental electronic music.

The new EP features two immersive tracks that showcase her signature blend of emotional depth and sonic experimentation. Opening with a soft exhale, unfolding slowly with airy textures and gentle pulses that create a sense of calm introspection. 'Breathe In' has a more urgent and restless tone, with shifting textures and a deeper emotional edge that draws the listener inward. Paired together, the two tracks form a striking contrast: Breathe Out will also be released alongside a captivating music video, featuring elegant and expressive movement by rising contemporary dance star Violet Savage, directed by diz_qo. Dropping alongside the visuals, this EP promises to captivate both ears and eyes.



BBC Radio 2 Support Live EP Launch Show in London, UK Press Campaign - with support from Electronic Sound, The Wire & Earmilk

This exciting new collaboration between Cara Tolmie and Rian Treanor is a highly kinetic and playful endeavour. Body-centric vocal explorations merge with intricate rhythmic systems forming a deliciously disorientating, hypersurreal space of semantic modulations, concrete poetry, cut-up beats and mimicked samples. Their sound is singular and tactile: dissociative dance music that reassembles contorting vocal lines and knotting biomechanics in an explorative network of unstable forms. It's a blur of bodily fragility and ecstatic disruption, where swells of meaning rise and fall through clouds of synthetic buzz, fleeting breath, and stream-of-consciousness imagery.The duo first performed together when Counterflows Festival paired them for a new commission at the historic Arches venue in 2023. Glasgow-born, Stockholm-based vocalist and performance artist Cara Tolmie brought her hypnotic vocal technique, Internal Singing _ an intimate practice using breath, movement, and touch that explores the subtle binds between voice and body in an unsettling, engrossing sonic space. Treanor's richly innovative work provided a compounding counterpart: radical, rave-infused structures that bent and contorted around Tolmie's incantation.Growing out of a series of charged, improvisational performances, Body Lapse was recorded between Stockholm and Rotherham in 2024. Echoes of their live energy run throughout _ a voice shaking through the body, responding to touch and physical modulation, translating performance into something tactile and immediate. Body Lapse marks their debut release together, it conjures a sound of unsettling beauty and frictional intensity _ a playful, physical mesh of computer music, voice, and speculative storytelling. In this gnawing, dreamlike space, breath and body become sites of both connection and disruption, sparking thrilling encounters with the unexpected, the playful, and the decisively weird

Parisian mainstay Leonard Perret, better known as Le Loup, signs a new 12” for Dancefloor Rituals, channeling the raw, old school traditions that have long informed his work. A fixture of the city’s underground, his collaborations with Chris Carrier and ongoing curation of his own Shadow Play imprint have positioned him at the intersection of heritage and forward motion. This latest release distills that ethos into stripped-back, hypnotic grooves and precision-crafted dancefloor tools that nod to the past while keeping their gaze firmly on the future.

Bringing together the elder statesman of the Zulu guitar Madala Kunene and internationally acclaimed Sibusile Xaba, kwaNTU pulls two generations of South African guitar mastery into a single point of focus. Under-represented on recordings outside of South Africa, Madala Kunene (b. 1951), the ‘King of the Zulu Guitar’, is revered as the greatest living master of the Zulu guitar tradition. Sibusile Xaba, whose collaboration with Mushroom Hour Half Hour reaches back to his first recording in 2017 (Open Letter To Adoniah/Unlearning), has garnered international acclaim for his unique voice and virtuoso guitar stylings, which bring together multiple South African guitar lineages in an original, spiritualised fusion. Collaborating with Mushroom Hour and New Soil for kwaNTU, the two players come together to weave a filigree sonic fabric which reaches down to the heartwood of Zulu guitar music but moves resolutely outward, building on the past to create a deeply rooted statement about present conditions and future travels. kwaNTU – which can be roughly translated ‘the place of the life-spirit’ – is also conclave of teacher and student, as Xaba has been taught by Kunene for the last decade. Meditative, rich and sonically sui generis, kwaNTU finds these two musicians linking up within the inimitable space of sound and spirit that they share through Kunene’s teaching.

The great masters of South African music have not all had equal exposure. For many years the generation of musicians who were exiled during apartheid took centre stage, as the regime made it very difficult for those at home to be heard. More recently, a new cohort of important voices, especially in jazz, has broken through to international consciousness. But for the generation of musicians in between – those who shone like beacons in the most difficult final years of apartheid and immediately afterward – international recognition has been slow in coming.

Madala Kunene, ‘the King of the Zulu Guitar’, is among this number. A revered figure for current generations of South African musicians, Kunene began his recording career in 1990, at the bitter end of apartheid, with a now classic self-titled LP for David Marks’ storied Third Ear imprint. Born in 1951 in Cato Manor, near Durban, he had determined to be a musician from early childhood, and by the time he first entered a recording studio he had already had a long career as a popular performer. His virtuoso absorption and transformation of the venerable Zulu maskanda guitar tradition and his richly spiritualised approach to music immediately marked him out as someone special, and in the years that followed, Kunene cemented his position as one of South Africa’s musical elders. He is without doubt the grand master of the Zulu guitar tradition, but his sound and sensibility ranges far beyond it into varied sonic terrain, and he has collaborated with a wide range of musicians both at home and abroad. Now in his mid-seventies, he remains a shining light for those that are making music in contemporary South Africa.

‘He is really an amazing person,’ says the guitarist Sibusile Xaba, who has been mentored by Kunene for over a decade, and now invites a collaboration with him on kwaNTU. ‘As a mentor, he's really powerful in showing us the way. For us to have this opportunity to make music together and have a project together is really a blessing to me.’

Xaba himself grew up in Newcastle, KwaZulu-Natal, where his mother had been in a band and his father sang in a church choir, and from early childhood Xaba played homemade tin guitars. He only later realised that music was his calling. ‘I just loved music. I was fortunate. My parents loved music. And when it was time for me to leave home and go to study outside Newcastle, I knew that music was what I wanted to do. There was no second option. It was just music.’ Moving to Pretoria to study music formally, Xaba committed himself to his craft, developing a unique style that draws on both US jazz masters such as Wes Montgomery and Jim Hall, and the rich and varied heritage of the South African guitar, from inspirational jazz players such as Allen Kwela and Enoch Mthalane, to the music of the Malombo groups and Dr. Philip Tabane (Xaba has previously collaborated with Dr. Tabane’s late son, Thabang), and the Zulu guitar tradition embodied by Kunene.

‘I was really in love with the jazz guitar, I really admired it, and I was digging a lot in that direction,’ says Xaba, recalling his first encounter with Kunene’s music, over a decade ago. ‘And then one day on my timeline, Kunene popped up, and I was like – “What's this sound?” I was so connected to it. It really touched me deep. I started checking out his records, and then I found out he's from the same region as I am, which is Zululand.’ After Kunene played a show at the Afrikan Freedom Station in Johannesburg, Xaba make contact with him, and visited him at home in Durban. They struck up a friendship, and Xaba became the elder’s student, as Kunene began to pass on his knowledge and his inimitable way of playing.

kwaNTU is a tribute to this relationship and the deep learning that has defined it. The album was recorded in Zululand in the town of Utrecht, at a cultural centre called Kwantu Village, which gives its name to the album. ‘It's such a broad word,’ Xaba says, ‘but the elders teach us that Ntu is basically an energy, almost chi, an energy, a force that all living beings have within them. It's a living energy, so kwaNTU is like, almost the place of this energy.’ The two men sequestered themselves for five days of jamming, improvising and planning, and then the session was recorded in one take over a single night, with Gontse Makhene joining on percussion and backing vocals and Fakazile on vocals. Other voices and overdubs were later added in the studio in Johannesburg.

The result is a rich and meditative recording that finds two generations in a deeply engaged dialogue. Teaching and passing on his knowledge, the elder Kunene has brought Xaba into a space of sound and knowledge that they now share; Xaba’s own practice of deep communion with nature and his dedication to his musical craft make him the perfect interlocutor for Kunene. The result is an album that foregrounds the two musicians engaged at the highest levels of responsive listening, sympathetic unity, and collaborative concentration. Bringing an elder statesman of South African music to an international listening audience for the first time in decades by pairing him with one of South Africa’s most important new voices, kwaNTU is a meeting of generations and a powerful demonstration of musical lineage and continuity.

‘Before music, there is sound,’ Xaba observes, speaking of Kunene’s unique approach to music. ‘And sound is like a common compartment…it's not restricted to particular people or particular geographic places, you know what I mean? It's sound. Everybody can hear it. So when he constructs that sound into music, I think everybody resonates with the energy behind his construction of sound into song. Here at home, we really love him for preserving our history through the guitar, through his stories as well the music, the songs that he writes. We really, really admire him.’

Auf ".5: The Gray Chapter" zeigen die Maskenmänner aus Iowa, was sie drauf haben, und präsentieren gleichzeitig ihren aktuellen Drummer Jay Weinberg.

Musikalisch orientiert sich das Album weniger an seinem Vorgänger "All Hope I Gone" als vielmehr an Slipknots musikalischen Wurzeln zur Zeit von "Iowa" (2001) und "Vol. 3: The Subliminal Verses" (2004).

Mit hohen Chaftplatzierungen und guten Reviews reiht sich ".5: The
Gray Chapter" deshalb in die Liste der Slipknot Klassiker ein.

Multi-faceted musician and co-founder of the Hungry Music label, Worakls, has unveiled the full tracklist for his stunning production 'Orchestra', an ambitious project filled with 10 brand-new productions, including recent single 'Cloches.'

Allowing his musical film influences to fully express themselves by incorporating them into his music, 'Orchestra' combines the grandiose feeling of album opener 'Nikki' with the melodic rhythms of 'By The Brook', and wistful yet percussive tones of tracks like 'Detached Motion.' Packed with cinematic elements throughout, Worakls explains his creative process, stating:

'Along the years, I have become more sensible to the emotions of film music, and I wanted to lead my universe into that direction. My aim is to mix in the emotions of this music with the freedom and energy of electronic music.'

With the original music composed to be specifically played with an orchestra, the album is accompanied by a tour of the most prestigious venues in Europe where Worakls will be accompanied by an orchestra formed of 20 musicians. Having recently kickstarted the schedule in Paris, the tour will take in a further 9 sold-out dates across France and Belgium throughout February, March, and April.

Spending the last ten years travelling the globe's most prestigious concert halls and festivals, Worakls' journey into composition started at the age of 3, learning the piano amidst his family of musicians. However, it was the 2015 launch of his 'Hungry Band' group alongside fellow frenchman N'to and Joachim Pastor which earned the French producer widespread acclaim. Proving his skills in composing film scores as well as electronic and orchestral productions, Worakls recently scooped the 'Best Original Soundtrack' prize at the Deauville Green Awards for Ushuaia and InFocus. The accolade was awarded to Worakls for his work on 'Une Oasis d'Espoir' alongside Nicholas Van Ingen & Jean Baptiste-Puchain.

More than a first album, more than a show, 'Orchestra' is the culmination of an inimitable artist whose inspirations touch all generations of music lover. After more than a decade of waiting, 'Orchestra' marks the first solo album from Worakls, and is set for a physical release in Spring 2019.

ONLY ONE MUSIC proudly presents Orlando Voorn aka Frequency - Kiss The Sky
Originally released on Lower East Side Records/ Netherlands in 1991!
This is the first re-issue incl. new mastering since 34 years!

Leeds based IMAGINARIUM announce their record label delivering a four track EP featuring music from residents Pete Melba (Planet Orange), Phil Warner (Plant & Deck / Pic N’ Mix), and Roya Brehl (Creatures of the night / Last days of Rome). Joining the crew is rising star and one half of duo Le Frequency, James Geeson.

Pete Melba kicks things off in his signature style of groovy tech house with skipping percussion, twinkling melodies and a touch of darkness. Phil Warner takes the A2 into techno leaning tech house territory sporting spacey pads, acid licks and spooky vocal snippets. On the B1, Roya Brehl moves into darker realms utilising cascading synths, eerie vocals and jangling percussion. Closing out the EP James Geeson continues the dark theme of the B-side warping the classic moonraker vocal into a deep dance floor chugger.

A well-rounded EP for cultured diggers bound to scintillate dance floors and after parties across the globe.

Gramrcy and John Loveless return to Phantasy with a double-A single, ‘Lucid / Feel So’. Three years on from their festival-rupturing hit ‘Highdive’, which found regular rotation in the sets of 2ManyDJs, Peggy Gou and Daniel Avery alongside soundtracking shows for Moschino and Hugo Boss, two new tracks expand the sound of the Berlin pair’s studio partnership.

‘Lucid’ features a unique vocal turn from Tony Morris, a former teacher, taxi driver and contemporary cult figure in Glasgow’s underground scene. Having begun DIY production only in his late sixties, he has since released on the city’s peerless Optimo Music and has been profiled by the BBC and NPR, alternately described by The Scottish Herald as “Scotland’s most unlikely pop sensation” and by himself as “a deviant cabaret artist”.

Morris’s hypnotic repetitions prove to be an earworming anchor for Gramrcy and Loveless’s pressure-cooker arrangement, a bubbling concoction that represents their most formative influences, combining the sheer bassweight of FWD-era UK dance with the ISDN-line scramble of the most out-there electroclash. Rich in rhythm and textural weirdness, ‘Lucid’ captures the sound of a deeply satisfying intersection of rave outsiders.

Eschewing the dreamy psychedelia of its counterpart, ‘Feel So’ instead tips the scales back toward the outright ecstatic. The influence of esoteric disco and post-punk percussion rides on a throbbing bassline that builds toward supreme dancefloor release, paying tribute to a legacy of hi-NRG, spanning Chicago to Rimini.

Gramrcy & John Loveless - ‘Lucid / Feel So’ will be available to download & stream on October the 10th via Phantasy There will also be a limited-edition run of just 200 hand-stamped 12” vinyl records, including the instrumental cut of ‘Lucid’, available to pre-order from Bandcamp and the Phantasy store.

Arriving two years after the first chapter, Absurd Matter 2 isn’t just a sequel, it’s an evolution, redrawing the boundaries established by its acclaimed predecessor. The Berlin-based Italian producer tempers his confrontational sonics with rare moments of introspection, shifting seamlessly between blown-out noise, warped hip-hop, mutant club experimentation, and weightless ambience. Textures disintegrate and reassemble, rhythms flex and crumble, and every detail balances on the edge of fantasy. It’s a poetic, layered response to Nino Pedone’s changing physical reality: the gradual hearing loss and perceptual renegotiation triggered by Ménière’s disease, which struck him in 2022. At first, the experience felt like betrayal, a brutal disconnection from the very sense that had shaped his life. But over time, the disorientation turned into a strange kind of focus. The silence between sounds became as expressive as the sounds themselves.
The first Absurd Matter was a visceral reaction to trauma; the second is more reflective – an ambiguous chronicle of sensory recalibration. Pedone doesn’t represent his altered inner reality through extremes, but through depth, zooming in on illusory distortions, tense rhythmic fluctuations, and fragmented sonics. Dense, immersive, and mystical, the album mirrors Pedone’s evolving relationship with perception itself.
Tinnitus-like feedback wails and noir-ish strings introduce “Repeater”, making it immediately clear that Pedone is painting a more delicately finessed image this time around. Fleshed out by raps from cult MCs billy woods and E L U C I D, the track is marked by subtle, sophisticated contrasts: the blurred, inverted rhythms that couch Armand Hammer’s haunted back-and-forth, and the glitchy interference that offsets the lavish orchestral phrases. Backwoodz associate Fatboi Sharif lends his Lynchian drawl to “Bandage Chipped Wings”, grounding Pedone’s lysergic rhythmic distortions with syrupy, horror-inspired couplets. Pedone also invites discomfort into “Crash Landing”, with droning, metallic tones that contradict South Central rapper ICECOLDBISHOP’s elastic flow. “Bitch, I don't give a fuck about anybody,” he squawks over Pedone’s incongruous rasping textures and time-warped beats, “cash out at any party.” Working alongside London’s Loraine James on production, Pedone reunites with Moor Mother on “I Saw The Light”, blending James’ soft-focus atmospherics with soundsystem-damaging, overdriven bass hits and rusted percussive snips. Moor Mother’s assertive words hover over the wreckage, tightening Pedone’s themes of overstimulation and altered awareness as they stutter and veer off course, vanishing into the backdrop.
Contrasting his more pensive experiments, Pedone’s dancefloor deviations are more concentrated on Absurd Matter 2 than ever before. He torches a stuttering dembow structure on “X”, obfuscating the rhythm’s familiar energy with disturbing audio hallucinations. On “Splintered”, he reunites with Kenyan prodigy Slikback, mangling neon-lit trance arpeggios with dissociated trap rhythms. He sharpens his skills to a fine point on “Oblivion Step”, observing 2- step through a lens of distortion and personal abstraction, shaking blipping synth leads over neck-snapping drums and counteracting the momentum with airless sci-fi soundscapes.
Perhaps the album’s most surprising moment arrives with “Viel”, which features vocals from Los Angeles-based composer Kaitlyn Aurelia Smith. Together, Pedone and Smith chance upon their notion of dub techno, fogging synth stabs and ghostly vocal traces into eerie harmonic distortions. On some level, it’s almost pop music, a far cry from the bleak dissonance of Absurd Matter and a hopeful way to reframe turbulence as transformation. Absurd Matter 2 doesn’t simply document a process; it enacts one. It doesn’t offer clarity; it invites disorientation. It’s not a map of the labyrinth, but a foghorn piercing the darkness.

Straight from the streets of Rio, Fabio Santanna drops a double-shot of pure Brazilian funk fire with Funk da Asa and Sou Black Rio, pressed fresh on a Dippin’ Records 7 inch. Following the sold out success of his last 7 inch release, this sequel to his ASA album is fully loaded with dance floor spark, deep basslines, tight percussion and that signature Fabio touch that makes hips move on instinct. Pulled direct from his upcoming Asa Noite album, these two tracks are pure boogie fuel bathed in tropical heat.

Physical format only. No digital. Limited to 100 copies.

After a long break from the 12" club format, Pedro Vian returns with a four-track EP aimed at the dancefloor. One of the key cuts is a club version of "I am OK", originally released on his latest album The Addiction (2025).
The EP also includes an additional track, "Teresa (Comelade's Piano Redubbed)" - a reinterpretation that samples Pascal Comelade's version of a song by Ovidi Montllor, the iconic Catalan folk singer known for his poetic, politically charged work during the post-Franco era. Vian reshapes this reference into a meditative ambient piece.

BLOOMY MEADOWS comes with deep and introspective melodic flows over INKSWEL's hard knock groovy boom bap on this fresh & organic 10 track collab hip hop album. Amazing features from LYRICS BORN, REGGIE B, PEOPLE WITHOUT SHOES, LEONARD CHARLES, ERIN BUKU, KULTAR AHLUWALIA, LEVEL MTINDO, and more.

Her New Knife ist eine Shoegaze-/Alternative-Band aus Philadelphia, Pennsylvania. Zu den Mitgliedern der Gruppe gehören Edgar Atencio (Gitarre und Gesang), Ben Kachler (Gitarre), Carolina Schooley (Bass) und Elijah Ford (Schlagzeug). Die Band veröffentlichte letztes Jahr ,chrome is lullaby" über das einflussreiche Label Julia's War Recordings. Die EP besticht durch ihren rohen, verletzlichen Charme und bietet Fans von Shoegaze und Post-Punk eine tiefe Verbindung zu ihrem einzigartigen Sound. Nach einer einmaligen Björk-Coverversion (,Pagan Poetry") kehrt die Band nun mit einer 6-Song-Remix-EP zurück, die Remixe von TAGABOW, Sword II, Frost Children und anderen. Die physische Version der Veröffentlichung ,Chrome is Lullaby Deluxe" enthält auf Seite A die EP ,Chrome is Lullaby" und auf Seite B die entsprechenden Remixe.

A Place In My Memory Is All I Have To Claim is the new album by Australian atmospheric pop trio Hydroplane, the storied 'offshoot' formed by three quarters of independent pop group, The Cat's Miaow. On this, their first music after two decades plus of radio silence, Andrew Withycombe, Kerrie Bolton and Bart Cummings return to the gentle, close-quarters musical world they shared around the turn of the century.

Recorded during 2024 in Melbourne and Ballarat, A Place In My Memory… picks up the thread Hydroplane set down with its precursor, 2001's The Sound Of Changing Places, though you can hear echoes of their other releases, too, with Withycombe noting a through-line from the group's 1998 "Failed Adventure" single. There's little quite like A Place In My Memory…, then or now, though. Maybe you can draw some connections between Hydroplane and their sister group, The Cat's Miaow, while fellow travellers might include Empress, The Ah Club, and further back, Young Marble Giants, Veronique Vincent (the muffled, ticking drum machine also makes me think of Robin Gibb's Robin's Reign).

There's also an umbilical to the bedroom-crafted electronica doing the rounds in the late nineties and early noughties. Hydroplane hint at this through their approach to songwriting, which often builds creatively around loops as structural devices. Through all this, the trio achieve an effortless, organic weightlessness across these nine lovely songs. Many feature Bolton's clear singing voice, drifting along, while guitars, keyboards, drum machines and loops tickertape away. The constituent parts fit together, but they also have a curiously detached quality - think of abstract cloud formations sharing the same sky.

Hydroplane and The Cat's Miaow often dealt in emotional ambiguity and uncertainty, and the uncertainty of the nostalgic. This was always one of the most appealing facets of their music, and A Place In My Memory… is thus named perfectly. I couldn't dream up a better title for the album and its reflections on history, lived experience, and the inevitable tangle between these two phenomena. These reflections variously address such concerns as human cruelty, flight, space travel, adventurism and spiritualism. There's also "To the Lighthouse", not a direct reference to the Virginia Woolf book, but a great title, nonetheless. (They've always had excellent titles, often borrowed, for songs and albums.)

A beautiful collection of drowsy, sleepy pop, humble and quiet, but resolute in its craft, A Place In My Memory Is All I Have To Claim is dream work in practice; a lovely reintroduction. Welcome back, then.

Analog synths and space echoes. Mastered on a reel to reel tape machine cut on 12" 180g silver marbled vinyl.

Interception, the second long player from Jensen Interceptor following 2018's Mother, is something of a state-of-the-nation that finds Melas consolidating several eras of his career, past and present, to form a distinct new sound that is the most experimental work he has produced to date.

In 2024, a freak accident at an event he was playing left him with multiple broken bones in his foot. The forced downtime became an opportunity for introspection, allowing him to revisit earlier projects and explore new musical territories. Blending his signature electro with genres such as IDM, footwork, and baile funk, Melas used this recovery period to fuse old influences with fresh global sounds. "Since I started making music I've always made music geared towards use in my DJ sets but there's always been an urge to explore the deeper side of electronic music.
That time off after the accident gave me the space to dive into genres and really experiment.
" The accident came at a time when he had already spent time, like so many others though the COVID-19 pandemic, assessing his next move. A full tour schedule had left him feeling constrained by the limitations of working in a single genre. As such, Interception is the end point of this reassessment and the start point of what Melas sees as the next stage of his musical evolution.
"I really wanted to challenge and, I guess, prove myself in other spheres, to take my music to a new place. I've never wanted to be too repetitive and found that expectations, imagined or real, were forcing me to get stuck on a specific sound both in my productions and DJ sets." This renewal is reflected in the title of the album, which eagle-eyed fans will note is the same as the first EP that was released under the Jensen Interceptor moniker, and the emotional and personal nature of the LP is likewise mirrored in the abstract impressionism of the artwork created by fellow Australian, Brodie Kaman, the artist behind the visual look of Lady Gaga's recent Mayhem LP as well as works for FKA Twigs, Nine Inch Nails, and more.
The design-resembling oil drifting across a microscope slide-uses a mix of vivid pastels and moody darks to express the album's emotional depth: a collection of distinct elements coalescing into something richer and more evocative.

Parallel Visions - PV002 | ORIGINS 01 Parallel Visions launches its new ORIGINS series with a heavy first instalment, showcasing a roster of rising and established talent pushing raw, driving techno.

PV002 brings together six powerful cuts from Lars Huismann, Frazi.er, LPV, Primal, Jehra, and marks the debut release of Liam Cappello. Expect pulsing grooves, stripped-back intensity, and nods to old-school techno roots, all designed for maximum impact on the floor. The ORIGINS series sets the tone for Parallel Visions: forward- thinking techno built with authenticity, energy, and an uncompromising underground edge.

We Are The Acid Robots - 6 electro-acid journeys from Baka (Berlin) & Acidulant (Malta).
Baka's side flows with smooth, futuristic funk, precision beats and liquid 303 lines.
Acidulant flips it to the oldschool, serving up pure electro energy with an acid twist.
Silky meets gritty, future meets foundation. Future classics in the making.

Conoley Ospovat delivers again with another missive on his mostly solo platform, Continental Drift. With supporters like Move D, Daniel Bell, Snad, Gavin Hardkiss, & DJ 1985, he always seems to find himself in the record bag of underground tastemakers & adventurous selectors. On the Tokyo Techno Girl 12" he continues to refine his sound - ranging from the B-side dusty dub roller Culture Lag to the playful shimmer of the lead tune: Stars.

In between, the wistful title track is a shuffling ode to a faithful furry studio companion. Then classical house roots shine through on Jam bij de Vrij Paleis, catapulting a buoyant bassline groove to the fore with a deep spirit sure to grab fans of Smallville or Giegling. Do not miss this.

Universe #1 is a total classic from the raves back in the day... another immense production and alias by Dave Charlesworth, alongside Steve Mc.Carthy. Dave is responsible for the Energizer series from back in the day as well as the Side Effect record we released earlier this year. On top of that he was The Sorcerer and ran the ADR label too! Busy guy!

Our 5th artist album comes from the powerhouse that is Nectax!!! Expect high octane jungle fuelled rhythms with shades of footwork and techno.Ollie has been making huge waves in the last few years with releases on Hooversound and his own Stereo 45 label.

For its second anniversary, Samba Jean-Baptiste’s 2023 LP, ‘Cardinal' arrives on vinyl and CD. Two years on from its original release on Samba’s own AM Radio imprint, this physical release via Scenic Route Records celebrates an album that’s quietly built a devoted following for its intimate songwriting, cinematic arrangements, and deeply human detail.

This edition features alternative artwork by Rafi Goudy and, for CD buyers, a 32-page lyric booklet featuring images captured by Samba himself.

An intimate, richly textured record that’s grown into a modern cult classic, ‘Cardinal’ stands as a deeply personal snapshot of a singular artist - now a tactile home experience.

We are excited to announce the release of a limited edition green vinyl pressing of Ashford & Simpson ” It Seems to Hang On” remixed by Joaquin Joe Claussell. Following the rapid sell-out of his Deodato Whistle Bump 12”.

'It Seems To Hang On' by Ashford & Simpson remixed by Joaquin Joe Claussell should not be mistaken for one of his highly sought-after Edits & Overdubs Series. 'It Seems To Hang On' is a full-on remix produced and carefully crafted directly from the actual multi-track resulting in an unreleased instrumental version that breathes a different perspective into the classic composition. The record is housed in a special Japanese thick Cardboard 7" Jacket along with the Promo one-sheet representing the special Warner Disco 12 inch Promotional Copies from back in the heyday of the legendary Disco Promos. Tested for several years on dance floors across the globe, the record is finally here.